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What does a script supervisor do?

Film and TV dramas are usually shot entirely out of sequence. Shooting is organised according to the practicalities of location and availability of cast rather than the unfolding of the story. It's the job of the script supervisor to check each filmed scene can be edited so it will make sense in the end.

During pre-production script supervisors prepare a continuity breakdown; this is a document which analyses the script in terms of cast, actions, wardrobe and props in scenes and story days. Then they time the script, which is quite a skill in itself.

Once filming starts, they closely monitor what's happening to check no dialogue is overlooked and the actions and eye-lines of the actors match. They keep detailed written and photographic records of dialogue, action, costumes and props. All camera and lens details are noted along with the slate and scene number information.

They keep a progress report of each day's filming which goes to production and the visual effects (VFX) supervisor in the case of VFX shots. These records are invaluable. They mean directors and editors can find what's been shot and what the options are for each scene. They mean that when different takes are edited together, the film is consistent and makes sense.

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What's a script supervisor good at?

Analysis: break down, time and itemise scenes in terms of set, costumes, make-up, props and dialogue according to where they are in the story

Filmmaking: understand the art of storytelling through a lens, know what this means in terms of required shots and crossing the line

Observation: have an eagle eye and good memory, have the stamina to remain observant during long filming days

Attention to detail: be meticulous and methodical in taking precise notes quickly and efficiently

Communication: let the director, actors, crew, hair, make-up and production know about continuity issues

Who does a script supervisor work with?

Script supervisors work closely with the director and script editor. They also communicate with actors, hair and make-up departments and production.

How do I become a script supervisor?

How do I become a script supervisor?

You don't need a formal qualification to become a script supervisor but you do need a very good understanding of film production, particularly of editing and how scenes are constructed out of individual shots.

A common route in is to spend a few years working in the industry at a junior level like a production assistant or assistant production coordinator in a production company. From there you can build contacts, get to to know the industry and step up to assist an experienced script supervisor. You will need to do this for a minimum of 30 weeks before you can progress to script supervision on second camera shoots (in multi-camera productions) before finally becoming a script supervisor.

At school or college:
If you want to go to university, take A-levels or Highers in a combination that includes English, art, art and design, drama and theatre, film studies, photography and physics. Or you might want to take a BTEC Level 3 National Extended Diploma in Creative Digital Media Production.

If you want to go straight into a job, the following Level 3 vocational qualifications are relevant:

OCR Technical Diploma in Digital Media (Moving Image and Audio Production)

BTEC National Diploma in Film and Television Production

BTEC National Diploma in Photography

UAL Diploma/Extended Diploma in Creative Media Production and Technology

Make a portfolio:
Learn the craft of making films by making them. Collaborate with friends and volunteer to make short films and put them into a showreel. Look at our advice on how to build a portfolio. This is also essential for impressing admissions tutors and people in the film industry.

Get work experience:
Contact video making companies and ask if you can do work experience with them. See our advice on approaching employers to learn how to do this.

Get a degree:
It's not essential but if you want a degree, but you can have a look at ScreenSkills' list of recommended courses in film and TV. We recognise courses with our ScreenSkills Select award where they offer training in the relevant software, dedicated time to building a portfolio and have strong links with the film and TV industries.

Go to ScreenSkills' events where you can meet people who work in the industry. Give people in the production or camera departments your details and ask if you can do work experience. Look at our page that explains how to network well.

Network online:
Create a LinkedIn profile. See if there's a Facebook page or other social media group for people making films or videos in your area. Join it. Create a ScreenSkills profile.

Become a trainee:
Apply to be a production trainee, a camera trainee or floor runner with ScreenSkills' Trainee Finder scheme. There are also schemes offered by the Guild of British Camera Technicians. Or you might try finding work in television as an assistant floor manager. This can give you valuable on-set work experience that you can then apply to film and TV drama later on.

You might also be interested in...

Producing, writing, directing, editing and script editing. Being a script supervisor is a good way into those roles. Alternatively, you could consider being a script supervisor in the unscripted TV industry.

Further resources

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Script supervisor (also known as continuity) in the film and TV drama industries

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For the push out shot of Lou I got to pour the fake blood over him just before the shot.

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I'd check with the DOP and crew after each shot how it was so i could make notes for the editor in my log sheets.

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Reading up about Continuity

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I kept note of what order she was holding the bags between each shot.

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On set behind the scenes!

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Due to continuity being a production role, during per-production all that i had to do was create this Log Sheet and print plenty of copies to last the duration of filming.
I also used this week to familiarise myself with the script to prepare myself for filming.

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Megs plaits were a bit of an issue for continuity, I had to keep a close eye on them during filming to see if they swung round her shoulder or not.

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Becoming aware of technical filming terms to prepare myself for being on set

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A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

M

Macro Lens – A lens that can be used for extremely close to the subject. The focusing ring will keep going past the lowest setting (on the Switar lens a red ring will appear to let you know) all the way around again. When in macro the distances on the focusing ring no longer apply.

Mag – 1.: Short for Film Magazine. 2.: Short for Mag Track.

Magazine – An attachment to a camera with one or two light-proof chambers that hold 400 or 1,000 feet of film. One camera will typically have two or three magazines which can be loaded ahead of time.

Mag Stock, Mag Track or Magnetic Film – Mag track is a piece of film that is coated with an emulsion of magnetic oxide instead of silver halides. Basically, it is sound recording tape that is the same size as film, complete with perforations. For editing, all the sound, location sound and additional sound, is transferred to mag stock, where it is run on an editing machine in tandem with picture, one frame of picture equaling one frame of sound.

Mark – 1.: The clapping of the clapstick to create a Sync Mark (1.) for the shot. 2.: A piece of tape on the floor that indicates where an actor should stand.

“Mark it!” – What to say to the person with the slate to get them to clap the sticks together.

Master Shot – A single shot, usually a wide shot, that incorporates the whole scene from beginning to end. Typically a master shot will be filmed first, and then all the close-ups and other shots afterwards.

Matte Box – A square shade that goes in front of the lens, usually supported by a pair of rods that attach to the camera. A matte box often has filter holders for square glass filters. (Often helpful for doing a Matte Shot.)

Matte Shot – A double exposure that does not meld two images on top of each other, but masks off part of the frame for one exposure and the opposite area for another exposure. This is also known as a split screen. Matte shots can also be done as Opticals.

M&E – M&E stands for Music and Effects. After a mix a big production will have an M&E track made, which is used when the film is dubbed into other languages so that all the Music and Effects do not also have to be redone. An M&E track is only essential if you plan on dubbing your film into a different language.

Mix – This is the process of combining all your soundtracks into one, with all the sounds blended together at their correct volumes, together with any equalization, filtering, and effecting of the sound to give you the desired end result.

Mixer – 1.: A device for blending together sounds from multple sources with a volume control for each. 2.: The person who sits at the mixing console during the mix, who decides initially on how the sounds are to be combined (you are the one with final say), and operates the faders and other audio controls.

Mixing House – A sound studio specifically for mixing sound for film.

Mix Master – This is a copy of your sound mix on mag stock, or on DAT, which you sometimes have to request in addition to the optical track. It is always a good idea to get a copy of the mix on tape, which will be of much better quality than the optical track for transfer to video, or to save some mixing time in the event you have to remix.

M.O.S. – A shot, a sequence, or a film that is shot without sound, which is added later. M.O.S. stands for “Mit Out Sound,” and derives from an old Hollywood story about a German director asking for a shot to be filmed “mit out sound,” and the camera assistant complying with this request by writing “M.O.S.” on the slate.

The Movement – The parts of a camera or projector that move the film intermittently: the pulldown claw, the rollers before and after the loops, and the gears connecting these parts form the movement. If there is a registration pin, this is also part of the movement. Sometimes the shutter can also be considered part of the movement.

Moviola – An Upright Moviola. Moviola is the company that makes this machine. They also make flatbeds, but when someone says “Moviola” the generally mean an upright. This is a film viewer, often used on an editing bench.

Moviscop – Spelled Moviscop but pronounced “movie-scope.” This is a small, 16mm table-top viewer, often used on an editing bench.

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A B C D E F G H I J K L M N O P Q R S T U V W X Y Z M Macro Lens - A lens that can be used for extremely close to the subject. The focusing ring will keep going past the lowest setting (on the Switar

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Sitting where actor would be positioned to help DOP with lighting and framing